The two-week lineup starts on Friday, Feb. 2, with “Sweet Sweetback’s Baadasssss Song,” Melvin Van Peebles’s 1971 motion mystery — set to a soundtrack by means of Earth, Wind & Fire and devoted “to all the brothers and sisters who had enough of the Man” — a few male prostitute dodging the L.A.P.D. whilst creating a run for Mexico. Huey P. Newton of the Black Panthers declared it “the first truly revolutionary black film,” whilst The New York Times christened its author “the first black man in show business to beat the white man at his own game.”
Other gemstones: the blaxploitation motion pictures “Cleopatra Jones,” “Foxy Brown” and “Abar: The First Black Superman”; Sidney Poitier’s revisionist Western, “Buck and the Preacher”; and Ivan Dixon’s anti-white-supremacy cult vintage, “The Spook Who Sat by the Door” — regarded as the sort of potent name to palms that the F.B.I. was once rumored to have suppressed it for many years. KATHRYN SHATTUCK
Classical Music: Debussy, 100 Years Later
Jan. 30; carnegiehall.org.
The song of Claude Debussy has been a lifelong fascination of the ever-inquisitive British pianist Stephen Hough: the first LP he ever owned was once “The Girl with the Flaxen Hair.” But Mr. Hough’s dazzlingly lucid new album of Debussy’s solo piano works, launched this month on Hyperion, is his first report devoted completely to the composer.
This 12 months marks the 100th anniversary of the radically prismatic composer’s loss of life, which is being celebrated with recordings, performances and new works commissioned in his reminiscence. On Jan. 30, Mr. Hough arrives at Carnegie Hall for a solo recital that puts Debussy’s song — together with each books of the kaleidoscopically ruminative “Images” in addition to the famously enthralling “Claire de lune” — along two contrasting landmarks of the 19th century, Schumann’s Fantasy in C Major and Beethoven’s “Appassionata” Sonata. WILLIAM ROBIN
Theater: A Comedy Well Timed for #MeToo
Jan. 28 to Feb. 25; wptheater.org.
“Lardons or anchovies?” the bartender asks the girl who’s simply walked in, and already he’s poured her a relaxing glass of the crimson wine she at all times beverages. This bar is a relaxed position with foodie pretensions, and in Kate Benson’s savory, skewering comedy “[Porto],” it’s the place the brainy, humorous, lonely heroine is going for a bit of corporate — as soon as she’s talked herself, undoubtedly now not for the first time, into believing that it’s O.Okay. for a girl to get a drink by means of herself.
When “[Porto]” had its international premiere a 12 months in the past at the Bushwick Starr in Brooklyn, in a run coinciding with the ladies’s marches round the international, its considerate feminism matched the fervor of that second. A lyrical play about feminine want, excitement and competing fears — being by myself vs. pairing up with a person and shedding oneself — it sort of feels similarly smartly timed for the #MeToo motion.
Its Off Broadway premiere begins previews on Sunday, Jan. 28, at WP Theater. Watch for a hallucinatory cameo by means of Simone de Beauvoir highbrow-bickering with Gloria Steinem (nope, now not the actual one), and a Chorus of Dumb Bunnies, spewing lowbrow imperatives about snaring a person. LAURA COLLINS-HUGHES
Pop: Jen Cloher, Backed by means of Courtney Barnett
Jan. 30; roughtrade.com.
“Indie rock is full of privileged white kids/I know because I’m one of them,” Jen Cloher sings on “Shoegazers,” a tart, bluesy spotlight from the self-titled LP that she launched in August. That crackling sense of humor drives a lot of Ms. Cloher’s songwriting; she loves to lob accusations that, regularly as now not, loop again into self-criticism. The album, her fourth, provides as much as a persuasive case that, privileged as she and/or her target market could be, this Australian artist is one of indie rock’s sharpest observers.
Many American lovers know Ms. Cloher as the romantic spouse of the extra well-known Courtney Barnett, additionally an Australian indie-rocker. Ms. Cloher sings about that, too — some of her maximum poignant songs care for the vexed intersections of popularity and love. (See “Forgot Myself,” the album’s excellently sulky opener, or the softer-hued “Sensory Memory.”) Expect the payoff to be top, musically and emotionally, when Ms. Cloher headlines Rough Trade NYC on Jan. 30, with Ms. Barnett enjoying guitar in her backing band. SIMON VOZICK-LEVINSON
Dance: Mina Nishimura in Manhattan
Feb. 1-Three; danspaceproject.org.
Sometimes choreographers slave over dances for months. Others create at the velocity of mild. This season, Mina Nishimura, the luminous Japanese-born dancer and choreographer, has no selection however to just do that for her newest premiere, “Bladder Inn (and X, Y, Z, W).”
The time crunch comes right down to scheduling: In contemporary weeks, Ms. Nishimura has been busy as a performer, dancing in back-to-back works by means of Kota Yamazaki, her husband, and Dean Moss. “I’m thinking of what I can do within the condition,” she mentioned in a up to date interview. “It’s good practice to see what you can do in a very limited amount of time.”
Her team paintings “Bladder Inn” refers to Ms. Nishimura’s choreographic pursuit of discovering language that pertains to inside landscapes. Her plan? To use the structure of the theater — which is housed in St. Mark’s Church — to create a dreamlike scene awash with wandering our bodies. GIA KOURLAS
TV: Three Beloved Actresses in 1 Show
Jan. 29; acorn.television.
The casting of 3 liked actresses round the age of 60 — Miranda Richardson, Zoë Wanamaker and Phyllis Logan — as the leads in a big British community tv drama was once so outstanding that it made the nightly information in that nation closing month.
“Girlfriends,” the newest from the author Kay Mellor, debuting Monday, Jan. 29, on the streaming platform Acorn TV, stars the triumvirate as longtime buddies coping with the demanding situations, each bodily and emotional, of late-middle-age. For Ms. Logan’s Linda, it’s the mysterious loss of life of her husband on their anniversary cruise. For Ms. Wanamaker’s Gail, it’s a pending divorce from the partner she nonetheless loves and the care of various members of the family. And for Ms. Richardson’s Sue, it’s the finish of the affair along with her son’s father, a married guy who claims — twist that knife — that she’s now not related. In a information unlock, Ms. Mellor, 66, referred to as the display her hobby undertaking, including that she longed to offer a voice to “women of a certain age who feel like they are invisible and unheard.” KATHRYN SHATTUCK